Notes Towards Day 14 (Thurs, Mar. 1): "Possible Future Realities"
by 8 p.m. tomorrow, Fri, Mar. 2: your second 4-pp.
web event, exploring the evolution of graphic analysis
(or: of the genre of the classroom? of the evolving, diverse self?
of your first web event?) is due
when we meet again (far in the future!)
on Tues, Mar. 13, we will discuss the 95-minute DVD,
Persepolis, Dir. Marjane Satrapi and Vincent Paronaud in 2008
and focus on Ayla's queries about genre-change:
I am intrigued by the conversion of books into movies. I would like to answer questions of, "How does a screen-writer decide what to keep in a movie and what to leave out," "How is the same message portrayed in a movie, if it is," "How is learning different in a movie than in a book," "Why would an author be interested in turning his/her movie into a book," and more. I think that I am mostly curious about the actual conversion of a novel into a screen play. How is a novel crunched and converted into mostly dialogue. What challenges does a screen-writer have to overcome?
Canaday's copy is in the Language Learning Center Video Room 315--
I requested, last night, that it be put on library reserve (behind the circulation desk,
available for three hour loans); is it also available through Netflix, but not streaming....
after that we will spend two classes on Neil Gaiman's A Game of You (so read ahead....?)
and after that??? let's see!
also! I'm teaching in a new 360° in the fall called
"Women in Walled Communities: Silence, Voice, Vision,"
focusing on the constraints and agency of individual actors
in the institutional settings of women's colleges and prisons
(my English course on The Rhetorics of Silence, plus
Jody Cohen's Ed course on "Learning in Institutional Spaces,"
and Barb Toews, allied Soc course, "Acting in Prison:
Vision as Resource for Change.")
Day 19 (T, Mar. 27)
Day 20 (Th, Mar. 29)
March 29-30, 2011. The TriCo Re: Humanities Symposium, @ Swat, with keynotes by Katherine Harris (San Jose State University), a leading advocate for undergraduate research in the digital humanities, and Alexandra Juhasz (Pitzer College), who recently published Learning From Youtube (MIT Press).
Day 21 (T, Apr. 3)
Day 22 (Th, Apr. 5)
Day 23 (T, Apr. 10)
Day 24 (Th, Apr. 12)
Day 25 (T, Apr. 17)
Day 26 (Th, Apr. 19)
8 p.m. Fri, Apr. 13: third 4-pp. web event, exploring the evolution of a third genre
Day 27 (T, Apr. 24)
Day 28 (Th, Apr. 26): Final Performances
* we can't do it all--> still useful (ideas for independent projects?)
* helpful thoughts about process/form/format:
whole-group discussions, usual postings....?
froggies315: universal design and reading load:
"there are lots of ways to get a story"!
KT: are there more "gutters" in short story collections?
* your second (1/2!) round of postings about content:
froggies315: radio shows about how we receive stories;
MIddlesex, Henrietta Lacks, Emperor of All Maladies,
something by Octavia Butler -> "Octavia" the dance
dglasser: classic, questionable and "fun" scifi:
Arthur C. Clarke's A Space Odyssey,
Beatrice Sparks' Jay’s Journal, or Kurt Vonnegut's Cat’s Cradle,
Nick Harkaway's The Gone Away World
Alicia: science fiction (?), Henrietta Lacks, Kindred
KT: Henrietta Lacks, Kindred, sci fi short stories and
Barbara Demick's Nothing to Envy: Ordinary Lives in North Korea
kobieta: Tim O'Brien's Going After Cacciato;
Richard Matheson's I am Legend, and the film adaptation
sterrab: Henrietta Lacks ->Law&Order episode, Emperor of
All Maladies, Kindred, The Orchid Thief--> film Adaptation
vspaeth: all looks interesting, but draw connections between topics
leamirella: Henrietta Lacks (in different forms) War Of The Worlds (in 3 different genres)
EGrumer: 3 favs, of 10: 3 versions each of The Princess Bride and of
The Hitchhiker's Guide to the Galaxy, plus The Orchid Thief--> Adaptation
what have we agreed upon?
what needs further negotiation?
what are our motivating questions/organizing structures?